S22.33 

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SUGGESTIVE  QUESTIONS 


f 

FOR  THE 


STUD!  OF  SHAKESPEARE 


H.  Gr.  PAUL, 

INSTRUCTOR  IN  ENGLISH  IN  THE  UNIVERSITY  OF  ILLINOIS. 


PUBLISHED  BY 

CUNNINGHAM  BROS., 

CHAMPAIGN’,  ILL, 

1904, 


3 


GENERAL  QUESTIONS  FOR  THE  STUDY  OF  EACH 

PLAY. 

Is  the  drama  aptly  named?  What  is  the  probable  date 
of  composition,  and  what  the  probable  sources  of  the  play? 
How  far  has  Shakespeare  regarded  the  dramatic  unities  of 
time,  place,  and  action?  Approximately  how  much  time  is 
consumed  by  the  play? 

PLOT.  Trace  through  its  various  stages  the  develop- 
ment of  the  plot.  What  are  the  different  contending  inter- 
ests, and  the  means  by  which  these  various  forces  are  put  into 
play?  State  the  results  of  the  plot.  Indicate  in  each  play 
the  following  : (a)  The  Introductory  Exposition  ; (b)  The 

Exciting  Force;  (c)  The  Development  of  this  Force;  (d) 
The  Climax;  (e)  The  Tragic  Force;  (f)  The  Development 
of  this  Force;  (g)  The  Final  Suspense  ; (h)  The  Catastrophe. 
Does  the  play  contain  a subsidiary  action  ? If  so,  how  is  this 
action  joined  with  the  main  one?  What  is  the  function  of 
each  act?  Are  there  any  episodes  that  have  little  connec- 
tion with  the  main  plot? 

CHARACTERS.  Are  the  characters  suited  to  the  story, 
and  the  story  to  the  characters?  Are  all  the  characters  clear- 
ly distinguished  from  each  other?  Are  the  characters  always 
self-consistent?  Are  they  selected  so  that  each  one  may 
serve  as  a foil  to  another? 

p 15162 


A 


THE  TWO  GENTLEMEN  OF  VERONA. 


What  devices  does  Shakespeare  employ  in  the  manage- 
ment of  the  introduction?  Why  is  the  scene  of  the  comedy 
laid  in  Italy?  What  features  detract  from  the  unity  of  the 
play?  Commit  to  memory  the  song  “Who  is  Silvia?”  What 
scenes  serve  principally  to  prepare  for  succeeding  ones?  What 
scenes  are  lyric  in  their  effect?  Point  out  scenes  in  which 
the  comedy  lies  more  in  the  situation  than  in  the  characters; 
some  in  which  the  interest  is  reversed.  Which  would  make 
the  best  acting  scenes  and  why?  Point  out  some  passages 
requiring  a great  deal  of  acting  in  proportion  to  the  amount 
of  dialogue.  What  scenes  would  be  more  effective  when 
acted  than  when  read?  Which  would  be  the  hardest  part  to 
play?  Has  the  author  secured  variety  in  the  kinds  of  emo- 
tions aroused  and  in  the  number  and  grouping  of  characters? 


Is  undue  use  ever  made  of  chance  or  accident  in  the  solution 
of  the  plot?  Compare  the  humor  with  that  of  “The  Mer- 
chant of  Venice.”  Cite  some  illustrations  of  so-called 
“American  humor.”  How  does  the  comedy  of  the  Launce 
scenes  differ  from  that  of  some  of  the  other  scenes?  What 
use  of  parody  has  Shakespeare  made  in  this  drama?  What, 
if  any,  is  the  moral  problem  of  the  play?  How  do  you  ac- 
count for  the  inadequate  “ denotement  ?” 

What  characters  and  situations  contain  a marked  farci- 
cal element?  Describe  the  “make-up,”,  as  you  imagine  it,  of 
Speed  and  of  Launce.  What  sets  of  characters  are  balanced 
against  each  other?  Are  any  of  the  nominally  subordinate 
characters  more  sharply  defined  than  some  of  the  professedly 
principal  ones?  Select  some  subordinate  actor  in  the  drama, 
and  go  rapidly  through  the  play,  pointing  out  the  many  and 
careful  ways  in  which  his  character  is  developed. 


A MIDSUMMER-NIGHT’S  DREAM. 


Should  you  call  this  play  a comedy?  In  what  spirit,  does 
Shakespeare  tell  us,  are  we  to  take  the  play?  Is  the  plot  more 
or  less  complex  than  that  of  “The  Two  Gentlemen  of  Verona?” 


5 


What  means  are  employed  for  securing  dramatic  unity? 

Do  you  imagine  the  play  was  very  successful  on  the  stage? 

How  has  the  element  of  wonder  in  this  drama  affected  its 
permanent  interest?  Has  the  play  more  than  one  grand 
climax?  In  what  sense  may  we  say  that  the  action  is  prob- 
able? Does  any  descriptive  passage  seem  introduced  simply 
for  its  own  sake?  Point  out  some  anachronisms.  What 
speech  is  most  frequently  quoted?  Cite  some  passages  that 
seem  especially  clear,  graceful,  and  musical.  Do  we  find  any- 
where in  the  play  some  of  Shakespeare’s  own  ideas  of  dram- 
atic action?  What  one  word  best  summarizes  the  spirit  of 
the  piece?  Why  is  the  scene  in  Acts  II  and  III  transferred 
to  the  woods?  What  preparation  is  made  for  the  entrance  ^ 
of  the  fairies  at  the  end  of  the  play? 

Note  the  care  with  which  the  characters  are  introduced. 
Divide  the  characters  into  groups.  How  are  these  groups 
united  ? Select  some  one  word  to  characterize  each  of  the 
more  important  “ dramatis  personae .”  Criticize  the  state- 
ment that  “Theseus  is  a classic  personage  with  romantic  fea- 
tures and  expression.”  Contrast  the  two  pairs  of  lovers.  Are 
the  characters  of  Lysander  and  Demetrius  clearly  differen 
tiated?  Describe  the  nature  of  the  fairies.  Of  what  two  dif- 
ferent standpoints  of  interest  are  Oberon  and  Puck  represen- 
tative ? Compare  Puck  with  Robin  Goodfellow  of  “L’Allegro.” 

RICHARD  III. 

Point  out  the  close  connection  between  the  beginning 
of  this  play  and  the  end  of  the  “Third  Part  of  Henry  VI.’’ 

Why  should  more  editions  of  this  drama  have  been  called 
for  in  Elizabethan  times  than  of  any  other  Shakesperean 
play?  Does  the  dramatist  deviate  from  historical  fact  in  the 
introduction  of  any  characters?  If  so,  what  is  his  reason,  y 
and  is  the  deviation  justifiable?  How  is  provision  made  for 
relief?  What  character  represents  the  Nemesis  of  the  Greek 
drama?  Does  the  moral  lesson  of  the  play  ever  surpass  its 
dramatic  interest?  Where  is  the  movement  of  the  action 


/ 


especially  slow?  What  blemishes,  if  any,  mar  some  of  the 
speeches?  Give  specific  illustrations.  What  non-dramatic 
elements  are  incorporated  in  the  drama?  Summarize  the 
different  purposes  of  the  first  soliloquy.  Cite  the  best  illus- 
trations of  dramatic  irony. 

Enumerate  the  different  reasons  why  Richard  is  a splen- 
did acting  character.  Describe  the  personal  appearance  of 
Richard  by  noting  all  the  hints  given  in  the  play.  How 
does  the  King  as  here  portrayed  differ  from  the  historic 
Richard?  How  far  are  the  qualities  emphasized  in  Richard’s 
first  speech  carried  out  as  the  source  of  his  action?  ‘Trace 
the  successive  steps  in  Richard’s  wooing  of  Lady  Anne. 
Does  Richard  win  Elizabeth,  or  is  her  consent  feigned? 
Which  of  the  characters  seems  to  understand  Richard  the 
most  thoroughly?  What  scene  best  illustrates  Richard’s 
bitterly  sarcastic  humor?  What  different  emotions  does 
Richard  successfully  simulate?  What  saves  his  character 
from  becoming  entirely  repulsive  to  us?  In  what  one  ‘in- 
stance when  awake  does  Richard  show  any  sense  of  guilt? 
Does  his  conscience  ever  gain  complete  mastery  over  him? 
Contrast  Richmond’s  oration  to  his  army  with  Richard’s  to 
his?  Compare  the  death  of  Richard  with  that  of  Macbeth? 

HENRY  V. 

What  causes  contributed  to  the  popularity  of  the  his- 
torical plays  during  Elizabeth’s  reign?  What  common  fea- 
tures do  we  find  in  the  historical  drama  and  in  the  epic  ? What 
is  the  weakness  of  the  historical  plays  for  dramatic  represen- 
tation? What  gives  these  plays  their  unity? 

What  parts  of  this  play  offer  a good  chance  for  scenic  dis- 
play? What  is  the  dramatic  purpose  of  representing  Henry’s 
soldiers  as  belonging  to  different  nationalities?  What  dra- 
matic justification  is  there  for  introducing  a herald  so  often? 
In  what  respects  is  the  play  faulty  in  construction?  Would 
anything  have  been  lost  by^qmitting  the  Scroop-Cambridge  ep- 
isode? Why  is  not  Falstaff  introduced  as  promised  in  “Henry 
IY?  ” Compare  the  rapidity  of  movement  of  this  play  with 


f 


7 

that  of  “Richard  III.”  Which  is  the  best  of  the  prologues,  and 
why?  Does  Act  I end  with  a climax?  Do  we  feel  sure  of  the 
outcome  of  the  battle  of  Agincourt?  What  is  the  chief  pur- 
pose of  Act  V ? 

Does  this  play  exhibit  much  variety  of  character?  Is 
Shakespeare  fair  in  his  delineation  of  the  French?  Describe 
the  personal  appearance  of  the  actors  you  should  choose  to 
take  the  parts  of  Pistol  and  of  Nym.  What  lines  summar- 
ize well  Fluellen’s  nature?  Excepting  Henry,  which  should 
you  call  the  most  important  character?  What  are  the  ele- 
ments in  Henry’s  character  that  make  him  Shakespeare’s 
ideal  king?  Where  in  the  drama  is  Henry’s  character  most 
thoroughly  re vealed  ? Does  Shakespeare  describe  Henry  as 
faultless?  Which  is  the  best  of  the  King’s  speeches,  and  why  ? 
Compare  Henry’s  actions  on  the  night  before  battle  with 
those  of  Brutus  at  Philippi. 

ROMEO  AND  JULIET. 

How  is  rapidity  of  movement  secured  ? In  what  season 
of  the  year  is  the  play  represented  as  taking  place?  Why 
this  special  season  ? Which  is  the  best  comic  scene  in  the 
play?  Select  the  three  passages  of  greatest  beauty  in  the 
drama.  ^Compare  the  descriptions  of  nature  with  those  of 
“A  Midsummer-Night’s  Dream.”  Point  out  some  of  the  many 
instances  of  dramatic  foreshadowing.  Illustrate  Shake- 
speare’s unusually  effective  use  of  contrast  in  this  play. 
Which  scene  is  the  most  highly  lyrical?  JlWhat  likenesses 
between  this  plot  and  that  of  an  ordinary  comedy  materially 
weaken  the  former?  What  purpose  is  served  by  the  brief 
scene  between  the  servants  of  the  Capulets  and  of  the  Mon- 
tagues? Show  how  Act  III,  Scene  1,  exhibts  in  miniature 
the  technique  of  the  drama.  What  is  the  purpose  of  ending 
Act  IV  with  a comic  scene?  What  artistic  reason  for  the 
brevity  of  Acts  IV  and  V ? What  reminiscences  of  “The  Two 
Gentlememof  Verona”  do  we  find  in  “Romeo  and  Juliet?  ” 
What  dramatic  reason  is  there  for  Mercutio’s  death?  How 


I 


I 


does  Shakespeare  succeed  in  surrounding  Friar  Laurence 
with  an  air  of  mysterious  wonder? 

Point  out  some  instances  of  good  character-grouping. 
What  character  embodies  most  intensely  the  family  hatred? 
What  is  the  purpose  of  introducing  Romeo’s  love  for  Rosa- 
line? In  the  older  version  of  the  story,  Romeo  kills  Tybalt 
in  self-defense;  why  does  Shakespeare  change  the  story? 
Show  how  Romeo’s  language  becomes  more  simple  as  the 
play  progresses.  Indicate  the  development  in  the  characters 
of  Romeo  and  of  Juliet.  In  which  of  the  lovers  is  this  de- 
velopment the  greater?  Whose  love  is  the  more  unselfish? 
What  purposes  are  served  by  the  character  of  the  nurse? 
Contrast  the  characters  of  Benvolio  and  Mercutio. 

•AS  YOU  LIKE  IT. 

A 

Discuss  the  significance  of  the  title?  How  is  this  signifi- 
cance emphasized  in  the  epilogue?  Show  the  variety  of 
sources  from  which  Shakespeare  drew  the  names  of  the  char- 
acters. Give  several  reasons  why  this  is  a good  play  for  the 
modern  stage.  Is  there  any  real  suffering  in  the  drama? 
What  lines  furnish  the  best  epitome  of  the  spirit  of  the  play? 
What  passages  are  introduced  to  meet  some  stage  necessity? 
Are  the  songs  introduced  naturally?  Does  the  comic  ele- 
ment ever  approach  the  farcical?  Explain  the  different 
functions  of  the  various  short  scenes  in  Act  II.  What  scenes 
serve  to  strengthen  the  main  ones  by  comparison  and  con- 
trast? Which  serve  principally  as  background  scenes?  Does 
each  act  end  with  a crucial  point  in  the  plot  or  in  character 
revelation?  Name  some  of  the  improbabilities  of  the  play. 
What  effect  do  they  have  on  our  appreciation  of  it?  Which 
is  the  most  successfully  managed, — the  setting,  the  plot  de- 
velopment, or  the  character  presentation?  Why  at  the  first 
of  the  drama  does  Orlando  emphasize  his  gentle  birth  ? 

Discuss  Hudson’s  statement  that  “properly  speaking 
the  play  has  no  hero.”  What  characters  are  not  men- 
W*  tioned  in  ActV?  Dramatic  reasons?  Compare  the  range 
and  variety  of  character  with  that  in  some  other  Shakespear- 


9 


the  humor  ot  Rosalind  S tLtS Cf*' 
Touchstone.  Why  has  Jail  l ^ and  with  that  of 

the  Shakesperean  conceptions  WhT  t faVOrite  among 
characters?  What  elements 0 mIrCh  "““t  »<  the 
stone?  Compare  the  honor  of  T "^''  ‘hstoiemsli  Touch- 
Launce.  °nor  of  Touchstone  with  that  of 


TWELFTH  NIGHT. 


Sh.h“n°U  co^i,:,11  - tb« 

noting  each  word  and  action^  thlf  Act . 1 carefull3% 

future  progress  of  the  plav  e°  lndlcate  the 

indicate  the  possible  lines  of  Hp  10ut  furfcher  reading, 
lines,  may  serJe  as  a What  or 

good  acting  parts,  “Twelfth  Night”  or  “a!y““  ^ more 
What  situations  resemble  thACO  • ^ou  ^IKE  It?  ” 

pearean  dramas/  Ai^tt  first  f?  S°me°f  the  °ther  Shake- 
cessful  presentation  on the sho^  for  suc- 
different  things  accomplished  by  Act  I mn? ?mmanze  the 
foreshadow  the  outcome  of  the  comedy*  Wh  ^ 1?  Act  11 

ssssr  °nhed-i!  «•  •* 

- *•  charge- 

Which  is  the  most  complex  character  ? Defe  Z ^ Weakest? 
Which  of  the  minor  “personae”  is  th*)'  + f your  answer- 
What  characters  serve  Is  ZL  ^,thebe«t  Judge  of  character? 
«h.t  is  the  womtZt  in  t *"""»* 

Describe  the  character  of  the  Duke  2 wi  ] ° 10J  The  best  ? 
tracts  Antonio?  Where  does  Oliva  « iat  111  Sebastian  at- 
for  Viola?  Describe,  as y0»  her  Jove 

ance  of  either  Viola  or  Olivia  wl  v'  ! pei;sonal  aPPear- 
Duke  before  assuming  her  disguise/  ww  love  with  the 
and  what  differences  between  Viola  and  S.tSSwS 


/ 


10 


line  b*  i— «-  «%£  * Yi0h'*  C0’"' 

pare  Julia,  Rosalind,  and  Viola. 

king  LEAR. 

Why  has  Lear  been  call®^^s  Statement  that  “the  Lear 
peare’s  tragedies?  Disc*f 5 J d „ Has  the  tragedy  in  any 
of  Shakespeare  cannot  be  actec  wfay  hag  Shakespeare 

part  of  the  play  been  authorities  that  Lears 

changed  the  statement  found  in  humor  with  that  of/ 

army  was  victorious?  W e very  greatly  th<^ 

“Richard  III”  floes  any  character  number  0f  lines  as- 

course  of  the  action  in ^5^^tic^son  for  the  ill-treat- 

signed  to  that  part?  Wh^td  dJes  the  least  to  advance 

ment  of  Kent  in  Act  II?  Whmh  any  promlse  o{  re- 

the  progress  of  the  drama?  Do 

stored  order?  „ d the  most  pathetic  of  all 

Why  has  the  Fool  he°nC  7 What  „ the  last  scene  m 

of  Shakespeare’s  mmorcharacter^  account  for  his  non- 

which  the  Fool  appears?  How  ^ ^ drama?  Discuss  the 

aDnearance  in  the  latt  P ^ a grown  man.  Is 

statement  that  “the 1F00  bad?  Iu  the  first  scene  of 

Edmund  represented  allegiance  primarily  to  the  King 

the  play  does  Kent  sho^4!’s  Staten!ent  that  Kent  is  too 
or  to  Cordelia?  Discus  0re  repulsive,  Gonenl  01 

rough  to  be  a hero.  Which ' is  of  Goneril  and  Regan 

Regan,  and  why  ? Does  re  Goneril  with  Lady  Macbeth 

ever  seem  justifiable . 0rdelia’s  action  in  the  very  first 

Should  you  chavacteriz  C.  dramaticaUy  necessary  that  Cor- 
scene  as  willful?  Why  do  you  imagine  Leai. 

delia  should  die?  How  old  weakness  in  his  char- 

What  scene  best  reveal  b inning  0f  the  play?  Show 

acter?  Is  Lear  insane  at  the  begin  8 with  him. 


11 


COKIOLANUS. 

■«»  * 

Why  has  the  aristocratic  life  furnisheu  better  themes 
for  poetry  than  has  the  democratic?  What  was  Shake- 
speare’s attitude  toward  the  common  people  as  shown  in  this 
drama?  What  scenes  serve  especially  to  prepare  for  the  de- 
cisive one?  Is  there  any  break  in  the  interest  of  the  play? 
Are  there  any  scenes  serving  rather  for  the  development  of 
character  than  for  the  furthering  of  the  plot?  Can  you  sug- 
gest a better  arrangement  for  some  parts  of  the  drama? 
Make  an  outline  showing  just  what  each  scene  contributes 
to  the  play.  W^hat  are  the  strongest  situations?  Note  some 
passages  where  a great  deal  is  crowded  into  a few  words. 
Compare  the  amount  of  prose  with  that  in  “Richard  III.” 
Point  out  a number  of  bold  metaphors.  Are  we  given  any 
glimpses  of  restored  order? 

What  dramatic  objection  to  developing  more  fully  the 
figures  of  the  Tribunes?  How  are  we  prepared  for  the  im- 
portant part  played  by  Volumnia?  How  does  Shakespeare 
differentiate  the  characters  of  Volumnia  and  of  Virgilia? 
Does  the  dramatist  take  pains  to  evoke  our  sympathy  with 
Coriolanus?  What  is  the  nature  of  his  character  as  it  is  first 
portrayed?  Trace  its  development.  Point  out  the  resem- 
blances between  the  character  of  Coriolanus  and  that  of  his 
mother.  Does  Coriolanus  ever  accuse  others  of  weaknesses 
characteristic  of  himself?  Does  he  show  himself  able  to 
dissemble?  What  term  of  reproach  most  thoroughly  arouses^ 
him?  Is  he  consistent  in  accepting  a subordinate  command 
under  Cominius?  Which  of  the  other  characters  best  under- 
stands Coriolanus? 


- THE  TEMPEST. 

What  different  reasons  for  beginning  the  play  with  a 
storm?  Does  any  one  line  sum  up  the  spirit  of  the  whole 
drama?  What  gives  the  play  its  greatest  charm?  Where  is 
Prospero’s  island  supposed  to  be  located?  What,  in  modern 
times,  supplies  the  place  of  the  prologue?  Show  how  “The 


12 


Tempest”  is  organically  one  of  the  most  compact  of  Shake 
speare’s  plays. 

What  is  the  effect  of  the  large  number  of  weak  endings 
we  find  in  this  play?  Select  some  passages  that  illustrate 
Shakepeare’s  use  of  run-on  verse.  How  many  rhyming  coup- 
lets are  there  in  the  play? 

Compare  as  works  of  fancy  “The  Tempest”  with  “A  Mid- 
summer-Night’s Dream.”  How  does  the  spirit  of  this  play 
differ  from  that  of  Shakespeare’s  earlier  comedies?  Compare 
the  use  of  nature  in  this  drama  with  that  in  “King  Lear.” 
Contrast  the  use  of  the  supernatural  in  “The  Tempest”  with 
that  of  “A  Midsummer-Night’s  Dream.”  How  does  the  treat- 
ment of  the  love  element  differ  from  that  in  some  of  his 
earlier  works?  What  change  do  we  note  in  the  nature  of 
the  humor  of  Shakespeare’s  later  comedies?  Compare  the 
epilogue  with  that  of  “As  You  Like  It.”  What  resemblances 
and  differences  do  you  note  between  “Twelfth  Night”  and 
“The  Tempest?” 

Compare  the  plot  of  Caliban  and  Stephano  with  that  of 
Antonio  and  Sebastian.  Why  were  not  Stephano  and  Trin- 
culo  more  severely  punished?  Note  all  the  adjectives  ap- 
plied to  Ariel,  and  determine  what  are  the  chief  qualities  of 
his  nature.  Compare  Ariel  with  Puck.  Compare  the  sim- 
plicity of  Juliet  with  that  of  Miranda.  How  is  the  character 
of  Prospero,  the  magician,  softened  and  humanized?  Dis- 
cuss the  belief  that  in  representing  Prospero  as  abandoning 
his  magic  Shakeaspeare  means  to  show  his  own  determina- 
tion to  give  up  his  magic  art. 


